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Call to Treason

  by Tom Clancy


(about 438 pages)
109,609
total words
of all the books in our library
33.49%
vividness
of all the books in our library
9.55%
passive voice
of all the books in our library
2.34%
all adverbs
of all the books in our library
0.89%
ly-adverbs
of all the books in our library
1.46%
non-ly-adverbs
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

MOST PASSIVE PAGE
MOST VIVID PAGE
digital records. None of them proved to be helpful. There was no sign of the cars they were looking for. Maria was at the wheel. As McCaskey watched familiar storefronts and offices slip by, he had a troubling thought. A century ago, the booksellers, diners, attorneys, government offices, and banks would have been especially vulnerable to fire. Today, it was a new kind of fire that could destroy them. The kind that had crippled Op-Center. He wondered if there would ever be a time when people did not have to fear life as much as they feared death. Not the way we do things now, he told himself. Funds to fight these dangers were allocated by political need instead of by threat assessment. People like himself, Maria, and Detective Howell could not do the job America was counting on them to do. “Do you think the killer might have rented a car?” Maria asked. McCaskey looked at his wife. “I’m sorry?” “The killer,” Maria repeated slowly. “Do you think she might have rented a car?” “I would be very surprised if she did,” he said. “Assassins don’t like to leave a paper trail.” “This assassin did not expect to be exposed,” Maria pointed out. “That is true.” “And she certainly would have gone in with a fake ID,” Maria went on. “An experienced killer would have several, I’m sure.” “I suppose we can try that search if this doesn’t get us anywhere,” McCaskey said. “But there have got to be over your own life. Wearing high tan western boots and carrying a finely honed Bowie knife, Richmond walked through the windy predawn darkness. He was dressed in a heavy denim jacket and black leather gloves to protect him from the near-freezing temperatures. Here, nearly four thousand feet up, there was even occasional sleet and snow. As he neared the ledge, he saw the dimly lit tops of white clouds a thousand feet below. Above there were still only stars and navy blue sky. When the sun finally began to rise over the sharp, curving ridge and warmed the rocky ledge, danger also wakened. That was where the diamondback rattlesnakes lived. The snakes nested in a line of boulders right at the edge of a cliff. Each season there were hundreds of them to be harvested. The first light of dawn woke the poikilotherm quickly, raising its blood temperature to the temperature of the new day. The triangular-headed snakes, anywhere from one to three of them, would move out in search of field mice, wild hares, early birds, or any small animals they could devour. It was not necessary for them to see their prey, which was why they could hunt before the sun had fully risen. The pits on the head of the rattlesnakes sensed the warmth of a living creature while their extended tongues could taste the prey on the air, the equivalent of Richmond smelling cooking in the kitchen. It allowed the snakes to pinpoint prey with deadly

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 2192.18 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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other books by Tom Clancy

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